A Quote by Gillian Anderson
Sometimes I read a script and it's obvious from early on that it's one where the suspension of disbelief has to develop strongly from page one. Some are more reality-based.
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When it comes to acting, people talk about the suspension of disbelief that you ask of the audience. Before that starts, you have to, as an actor, suspend your own disbelief.
The whole film genre is one of deceit. It is the suspension of disbelief. That's what all theater and all film is based on.
The more you can create that magic bubble, that suspension of disbelief, for a while, the better.
You just knew you were in great hands with somebody so talented, so bright and with such depth. We both [with Ellen Page] loved the script and the book [Into the Forest], which I read after I read the script, and highlighted it and dog-eared it to craziness.
I'm quite proud of what I anticipated about reality television from my books in the early '90s, which I based on the early seasons of 'Cops' and on the amazing stuff I had read about happening on Japanese shows and the British 'Big Brother'.
In reviewing films, people get quite liberal about saying "the script" this and "the script" that, when they've never read the script any more than they've read the latest report on Norwegian herring landings.
The idea is to make the script out of a political analysis and then to convey that - sometimes in poetry, sometimes science, sometimes all it takes is a film. The film itself is less and less spectacular because I think very strongly now the more spectacular you are, the more you are absorbed by the things you are trying to destroy.
Normally my process is to sit in a room and read a script and talk about it and ask questions and just create a dialogue. That goes all the way through shooting. All kinds of thoughts and ideas can find their way in there. As long as you're all on - We're just all trying to tell the story so my job as a director is just to find out what this film wants to be based on, it's just words on a page at some point but then it just needs to go to some level of believable storytelling. I'm discovering the film as I make it, to some degree.
If you read a book that's fiction and you get caught in the characters and the plot, and swept away, really, by the fiction of it - by the non-reality - you sometimes wind up changing your reality as well. Often, when the last page is turned, it will haunt you.
For me, I wish I loved every script that I read. Sometimes I'm more picky and choosy than I really should be because you would get more jobs as an actor! But you don't know what it is. Sometimes you read something and it could be a big part or a small part. It could be one scene and I'll read it and say: "Wow, I really like that and I really want to do that.".
When I read the script sometimes, it's like 'Christ! Enough!' I can't sleep at night sometimes. There's the occasional script that just hammers you, that you can't shower off.
What do you know? Haven't you heard of suspension of disbelief?
No one is really a method actor, everyone has their way of going about it, preparing for it, but method is preparation, it's what you do to prepare. So my method is to read the script. Some actors' method is to read the script a hundred times and in the doing of it, to immerse themselves in as much of the reality as possible. Me, I believe strictly in acting. If I am out of breath, I'm out of breath. I ain't running nowhere.
I guess love is the real suspension of disbelief.
I get newspapers from Britain and other countries twice a week and read them almost page to page. Sometimes I find I'm reading things I don't even need to read, because my mind is still hungry.
The stage is suspension of disbelief. Film is a literal medium.
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